11.Williams-They Grind.TE 1/26/06 10:34 AM Page 134 · THEY GRIND EXCEEDING SMALL 135 Before You Read… They Grind Exceeding Small by Ben Ames Williams (1889-1953) ABOUT THE AUTHOR

134 IMPLICATIONS OF LITERATURE / UNIT ONE


11.Williams-They Grind.TE 1/26/06 10:34 AM Page 134

THEY GRIND EXCEEDING SMALL 135

B e f o r e Y o u R e a d …

They Grind Exceeding Smallby Ben Ames Williams (1889-1953)

ABOUT THE AUTHOR

Ben Ames Williams, a prolific and talented writer, was in born in Macon, Mississippi.His family soon relocated to Jackson, Ohio, where Ben’s father, Daniel Webster Williams,served as editor of The Standard Journal, a weekly newspaper. His mother Sarah wouldoften read aloud to her young son, furthering his interest in literature. In 1904, Ben leftOhio to attend the Allen School in Newton, Massachusetts. He entered DartmouthCollege in 1906 and completed his degree in 1910.

Williams began work as a reporter for The Boston American in September of 1910, buthis career as a journalist was short-lived. By the time he left The American in December1916 he had sold several short stories and short serials. His success inspired him to changehis vocation, and he became a professional fiction writer. His stories appeared in manymagazines, but his work was carried mainly by The Saturday Evening Post and Collier’s.

Williams’ first book, All the Brothers Were Valiant, appeared in 1919 and he pub-lished more than thirty books in his lifetime. In addition, he wrote 432 short stories,many of which are set in Maine. Williams was fascinated by history and many of hisworks use the Revolutionary or Civil War as backdrops.

“They Grind Exceeding Small” first appeared in The Saturday Evening Post and waslater included in Thrifty Stock, a collection of some of the author’s best short stories.This work took second place in the 1918 competition for the O. Henry Award, a much-coveted prize for writers of short fiction. Indeed, the author’s style is reminiscent of thatmaster of the art of the short story. Williams writes succinctly and often employs O.Henry’s favorite literary device, the surprise ending.

ABOUT THE SELECTION

“They Grind Exceeding Small” is a deeply philosophical tale that deals with the ques-tion of divine retribution. It can be viewed as an allegory, replete with symbolism, inwhich evil appears to flourish. The narrator wonders about this paradox, especially inregard to Hazen Kinch, who, together with his wife and child, should be viewed on asymbolic level.

The title of this selection originates from a popular expression, “Though the mills ofGod grind slowly, yet they grind exceeding small.” The metaphor describes the actionof millstones that grind grain, an arduous and tedious task. The longer the grindingprocess, the finer the flour that results. This quotation implies that although — to thehuman eye — the process of justice is often so slow as to appear non-existent, God’seventual retribution is meticulously planned and implemented.

This story takes place during a particularly severe winter. The cruel weather helps tomove the plot forward and is of great significance, since many of the characters’ actionsand decisions are affected by the grim reality of the season.


The quotation is from Henry Wadsworth Longfellow’s translation of an aphorism by Germanpoet Freidrich von Logau (1605-1655). The aphorism reads, “Though the mills of God grindslowly/Yet they grind exceeding small;/Though with patience He stands waiting,/Withexactness grinds He all.”


I telephoned down the hill to Hazen

Kinch. “Hazen,” I asked, “are you going to

town today?”

“Yes, yes,” he said abruptly in his

quick, harsh fashion. “Of course I’m

going to town.”

“I’ve a matter of business,” I suggested.

“Come along,” he invited brusquely.

“Come along.”

There was not another man within

forty miles to whom he would have given

that invitation.

“I’ll be down in ten minutes,” I prom-

ised him; and I went to put on my

Pontiacs* and heavy half boots over them

and started downhill through the sandy

snow. It was bitterly cold; it had been a

cold winter. The bay — I could see it from

my window — was frozen over for a

dozen miles east and west and thirty north

and south; and that had not happened in

close to a score* of years. Men were

freighting* across to the islands with


heavy teams. Automobiles had beaten a

rough road along the course the steamers

took in summer. A man who had ven-

tured* to stock one of the lower islands

with foxes for the sake of their fur, count-

ing on the water to hold them prisoners,

had gone bankrupt when his stock in trade

escaped across the ice. Bitterly cold and

steadily cold, and deep snow lay upon the

hills, blue-white in the distance. The ever-

greens were blue-black blotches on this

whiteness. The birches, almost indistin-

guishable, were like trees in camouflage.

To me the hills are never so grand as in

this winter coat they wear. I wondered as

I plowed my way down to Hazen Kinch’s

farm whether God did indeed dwell

among these hills; and I wondered what

He thought of Hazen Kinch.

This was no new matter of thought

with me. I had given some thought to

Hazen in the past. I was interested in the

man and in that which should come to


They GrindExceeding Small

Ben Ames WilliamsFOCUS: SETTING; CHARACTERIZATION

What is the reader’s firstimpression of Hazen? A. Hazen is a man accus-

tomed to speaking harshly. He isclearly not a man who is generouswith his favors.

What is the common fac-tor in the discussion of the“freighting,” automobile

travel, and the bankrupt fur trapper? A. The bay has frozen over and hasaffected the life of the area.Freighting and automobile travelcan be accomplished on the ice andfoxes have escaped from the furtrapper over the ice.

What effect is created bythe description of thescene?

A. The author paints a picture thatis at once bleak and magnificent.Nature seems to have thwartedman’s carefully laid plans and sub-stituted its own, creating a land-scape that inspires awe. The colorsof the landscape are at once similarand dissimilar; the snow is blue-white, and the trees are blue-black,except for the birches whose whitebark makes them appear to be cam-ouflaged by the snow.

What is the reader’sfirst impression

of Hazen?

Pontiacs — felt stockings.

score — twenty.

freighting — transporting merchandise.

ventured — attempted.

ΩELPFULµEFINITIONS

What is the common factor in

the discussion of the“freighting,” automo-

bile travel, and thebankrupt fur trapper?

What effect is createdby the description

of the scene?



him. He was, it seemed to me, a problem

in fundamental ethics; he was, as matters

stood, a demonstration of the essentialuprightness of things as they are. The

biologist would have called him a sport,*

a deviation from type, a violation of all the

proper laws of life. That such a man

should live and grow great and prosper

was not fitting; in a well-regulated world

it should not be. Yet Hazen Kinch did live;

he had grown — in his small way — great;

and, by our lights, he had prospered.

Therefore I watched him. There was

about the man the fascination which

clothes a tight-rope walker above

Niagara; an aeronaut* in the midst of the

nose dive. The spectator stares with half-

caught breath, afraid to see and afraid to

miss seeing the ultimate catastrophe.

Sometimes I wondered whether Hazen

Kinch suspected this attitude on my part.

It was not impossible. There was a cynical

courage in the man; it might have amused

him. Certainly I was the only man who

had in any degree his confidence.

I have said there was not another

within forty miles whom he would have

given a lift to town; I doubt if there was

another man anywhere for whom he

would have done this small favor. He

seemed to find a mocking sort of pleasure

in my company.

When I came to his house he was in

the barn harnessing his mare* to the

sleigh. The mare was a good animal, fast

and strong. She feared and she hated

Hazen. I could see her roll her eyes back-

ward at him as he adjusted the traces.*

He called to me without turning, “Shut the

door! Shut the door!”

I slid the door shut behind me. There

was within the barn the curious chill

warmth which housed animals generate*

to protect themselves against our winters.

“It will snow,” I told Hazen. “ I was not

sure you would go.”

He laughed crookedly, jerking at the

trace.

“Snow!” he exclaimed. “A man would

think you were personal manager of the

weather. Why do you say it will snow?”

“The drift of the clouds — and it’s

warmer,” I told him.

“I’ll not have it snowing,” he said, and

looked at me and cackled. He was a little,

thin, old man with meager whiskers and a

curious precision of speech; and I think

he got some enjoyment out of watching

my expression at such remarks as this. He

elaborated his assumption that the uni-

verse was conducted for his benefit, in

order to see my silent revolt at the sug-

gestion. “I’ll not have it snowing,” he said.

“Open the door.”

He led the mare out and stopped by

the kitchen door.

“Come in,” he said. “A hot drink.”

I went with him into the kitchen. His

wife was there, and their child. The

woman was lean and frail; and she was

afraid of him. The countryside said he had

taken her in payment of a bad debt. Her

father had owed him money which he

could not pay.


sport — in biology, a new and unusual plant or flower differing from itsparent stock; a mutation.

aeronaut — here, an airplane pilot.

mare — a female horse.

traces — the two straps or chains connected to a horse’s harness bymeans of which it pulls something, such as a cart.

generate — here, produce.


Why does the narratorsay that a “biologistwould have called

him a sport”?

Why is the narratorfascinated by Hazen?

Note the pairingof contradictory,

paradoxical elementsin the term “chill

warmth.”

Why does Hazenget enjoyment frommaking remarks such

as “I’ll not have it snowing”?

Why does the narratorsay that a “biologistwould have called him a

sport”? A. The narrator says that Hazen’sprosperity in the face of his totallyflawed character is so unjust as toconstitute a sport, a freak ofnature.

Why is the narrator fasci-nated by Hazen? A. The narrator sees

Hazen Kinch as a man who, byrights, should not prosper. He is aman who seems to be flirting withdisaster and heading toward agreat fall.

Why does Hazen getenjoyment from makingremarks such as “I’ll not

have it snowing”?A. Hazen Kinch obtains a perversesatisfaction from making remarksthat seem to imply that the uni-verse is conducted for his benefit.He enjoys the narrator’s sup-pressed anger at Kinch’s com-ments, anger that has sprung froma recognition of Hazen’s negativecharacteristics and his apparentescape from retribution.




What questions areraised in the mind of thenarrator as he watches

the interaction between Kinch andhis son? A. The narrator wonders whetherKinch’s love for his child redeems himsomewhat or whether it simplymakes him more open to pain shouldsomething happen to the child.

“I decided it was time I had a wife,”Hazen used to say to me.

The child was on the floor. Thewoman had a drink of milk and eggs andrum, hot and ready for us. We drank, andHazen knelt beside the child. A boy baby,not yet two years old. He was deformed— a twisted leg. The women of the neigh-borhood sometimes said he would bebetter dead. But Hazen Kinch loved him.He lifted him in his arms now with a curi-ous passion in his movement, and thechild stared at him sullenly. When hismother came near, the baby squalled ather, and Hazen said roughly, “Standaway! Leave him alone!”

She moved back furtively; and Hazenasked me, displaying the child, “A fineboy, eh?”

I said nothing, and in his cracked oldvoice he mumbled endearments to thebaby. I had often wondered whether hislove for the child redeemed the man; ormerely made him vulnerable. Certainly

any harm that might come to the babywould be a crushing blow to Hazen.

He put the child down on the flooragain and he said to the woman curtly,*“Tend him well.” She nodded. There wasa dumb submission in her eyes; butthrough this blank veil I had seen nowand then a blaze of pain.

Hazen went out of the door withoutfurther word to her, and I followed him.We got into the sleigh, bundling ourselvesinto the robes for the six-mile drive alongthe drifted* road to town. There was afeeling of storm in the air. I looked at thesky; so did Hazen Kinch. He guessed whatI would have said and he answered mebefore I could speak.

“I’ll not have it snowing,” he said, andleered at me.

Nevertheless, I knew the storm wouldcome. The mare turned out of the barn-yard and plowed through the drift andstruck hard-packed road. Her hoofs beata swift tattoo;* our runners* sang

Williams foreshadows that harm will come to Kinch through his only child.

What questions are raised in the

mind of the narratoras he watches the

interaction betweenKinch and his son?

curtly — abruptly.

drifted — here, snow piled up by wind.

tattoo — here, a beat, as a drumbeat.

runners — the long blades beneath a sled or sleigh, on which it glides.


The child should beperceived as a symbol.

It will become obvious, as the storyprogresses, that thechild represents theonly vulnerable partof Hazen Kinch, and,as such, is only a tool,serving as an instru-ment of retribution.



beneath us. We dropped to the littlebridge and across, and began the mile-long climb to the top of Rayborn Hill. Theroad from Hazen’s house to town is com-pounded* of such ups and downs.

At the top of the hill we paused for amoment to breathe the mare;* pausedjust in front of the big old Rayborn house,that has stood there for more years thanmost of us remember. It was closed andshuttered and deserted; and Hazendipped his whip toward it and said mean-ly; “An ugly, improvident lot, theRayborns were.”

I had known only one of them — theeldest son. A fine man, I had thought ofhim. Picking apples in his orchard, he fellone October and broke his neck. Hiswidow tried to make a go of the place, butshe borrowed of Hazen and he had evict-ed* her this three months back. It wasone of the lesser evils he had done. Ilooked at the house and at him, and heclucked to the mare, and we dipped intothe steep valley below the hill.

The wind had a sweep in that valleyand there was a drift of snow across itand across the road. This drift was wellpacked by the wind, but when we droveover its top our left-hand runner brokethrough the coaming* and we tumbledinto the snow, Hazen and I. We were wellentangled in the rugs. The mare gave afrightened start,* but Hazen had held thereins and the whip so that she could notbreak away. We got up together, he and I,

and we righted the sleigh and set it upon

the road again. I remember that it was

becoming bitter cold and the sun was no

longer shining. There was a steel-gray

veil drawn across the bay.

When the sleigh was upright Hazen

went forward and stood beside the mare.

Some men, blaming the beast without

reason, would have beaten her. They

would have cursed, cried out upon her.

That was not the cut* of Hazen Kinch. But

I could see that he was angry and I was

not surprised when he reached up and

gripped the horse’s ear. He pulled the

mare’s head down and twisted the ear

viciously. All in silence that was deadly.

The mare snorted and tried to rear

back, and Hazen clapped the butt of his

whip across her knees. She stood still,

quivering, and he wrenched at her again.

“Now,” he said softly, “keep the road.”

And he returned and climbed to his

place beside me in the sleigh. I said noth-

ing. I might have interfered, but some-

thing had always impelled me to keep

back my hand from Hazen Kinch.

We drove on and the mare was lame.

Though Hazen pushed her, we were slow

in coming to town; before we reached

Hazen’s office the snow was whirling

down — a pressure of driving, swirling

flakes like a heavy white hand.

I left Hazen at the stair that led to his

office and I went about my business of

the day. He said as I turned away, “Be

there at three.”


compounded — composed of.

breathe the mare — (idiom) allow the mare to rest in order to catchits breath.

evicted — legally compelled to leave one’s home.

coaming — a raised edging, usually on the bottom of the boat, meant toprotect it.

start — an involuntary movement.

cut — here, character; nature.


What does Kinch’sattitude toward the

Rayborns reveal abouthis character?

Hazen’s cold andcalculated response to the horse seemsmore cruel than a

simple beating might have been.

Why doesn’t thenarrator interfere?

What does Kinch’s atti-tude toward theRayborns reveal about

his character? A. Kinch faults the Rayborns for notplanning ahead, even though theirmisfortune resulted from unpre-dictable circumstances. Kinch didnot hesitate to take advantage oftheir misfortune and cruelly evictedthe widowed Mrs. Rayborn whenshe was unable to fulfill the termsof her loan. Moreover, he seems toconsider misfortune something of acharacter flaw.

Why doesn’t the narratorinterfere?A. He does not interfere

because something always stopshim from becoming involved withHazen Kinch’s activities. He maywell be waiting for some form ofjustice to be meted out to Kinch.




What problems aredeveloping?A. A storm is brewing

and, as a result of Kinch’s beating,the mare’s legs have stiffened. Thismeans that she will not be in top con-dition to pull the sleigh in a storm.

How does the appearanceof the office further char-acterize Hazen Kinch?

A. His office is dingy and barely fur-nished, and he does not have atelephone in his office, indicatingthat Kinch’s miserliness extendseven to himself.

Why does Hazen Kinchrefuse to go to a hotel? A. He refuses to spend

money, even on his own comfort.

I nodded. But I did not think we shoulddrive home that afternoon. I had someknowledge of storms.

That which brought me to town wasnot engrossing. I found time to go to thestable and see Hazen’s mare. There wasan ugly welt across her knees and someblood had flowed. The stableman hadtended the welt, and cursed Hazen in myhearing. It was still snowing, and the sta-ble boss, looking out at the driving flakes,spat upon the ground and said to me,“Them legs’ll go stiff. That mare won’t gohome tonight.”

“I think you are right,” I agreed.“The white-whiskered skunk!” he

said, and I knew he spoke of Hazen.At a quarter of three I took myself to

Hazen Kinch’s office. It was not much ofan office; not that Hazen could not haveafforded a better. But it was up two flights— an attic room ill lighted. A small air-tight stove kept the room stifling* hot.The room was also air-tight. Hazen had atable and two chairs, and an iron safe inthe corner. He put a pathetic trust in thatsafe. I believe I could have opened it witha screw-driver. I met him as I climbed thestairs. He said harshly, “I’m going to tele-phone. The say the road’s impassable.”

He had no telephone in his office; heused one in the store below — a smalleconomy fairly typical of Hazen.

“I’ll wait in the office,” I told him.“Go ahead,” he agreed, halfway down

the stairs.I went up to his office and closed the

drafts* of the stove — it was red hot —and tried to open the one window, but itwas nailed fast. Then Hazen came backup the stairs grumbling.

“The wire is down.”“Where to?” I asked.“My house, man! To my house!”“You wanted to telephone home that

you —”“I can’t get home tonight. You’ll have

to go to the hotel.”I nodded good-naturedly.“All right. You, too, I suppose.”“I’ll sleep here,” he said.“I looked around. There was no bed,

no cot, nothing but the two stiff chairs. Hesaw my glance and said angrily: “I’veslept on the floor before.”

I was always interested in the man’smental processes.

“You wanted to telephone Mrs. Kinchnot to worry?” I suggested.

“Pshaw; let her fret!”* said Hazen. “Iwanted to ask after my boy.” He expand-ed; he rubbed his hands a little, crackling:“A fine boy, sir! A fine boy!”

It was then we heard Doan Marsheycoming up the stairs. We heard his stum-bling steps as he began the last flight, andHazen seemed to cock* his ears as he lis-tened. Then he sat still and watched thedoor. The steps climbed nearer; theystopped in the dim little hall outside thedoor, and someone fumbled with the knob.When the door opened we saw who it was.I knew Marshey. He lived a little beyondHazen on the same road. Lived in a littletwo-room cabin — it was little more —with his wife and his five children; livedmeanly and pitiably, groveling in the soil fordaily bread, sweating life out of the earth —life and no more. A thin man, racking thin;a forward-thrusting neck and a bony faceand a sad and drooping mustache abouthis mouth. His eyes were meek and weary.

What problems aredeveloping?

stifling — here, unbearably, creating a feeling of choking.

drafts — vents that can be opened and closed to regulate the heat.

fret — worry.

cock — here, become alert.


How does the appearance of

the office further characterize

Hazen Kinch?

Why does HazenKinch refuse to go

to a hotel?



He stood in the doorway blinking atus; and with his gloved hands — theywere stiff and awkward with the cold —he unwound the ragged muffler that wasabout his neck and he brushed weakly atthe snow upon his head and shoulders.Hazen said angrily, “Come in! Do youwant my stove to heat the town?”

Doan shuffled in and he shut the doorbehind him. He said: “Howdy, Mr.Kinch.” And he smiled in a humble andplacating way.

Hazen said, “What’s your business?Your interest is due.”

Doan nodded.“Yeah, I know, Mr. Kinch. I cain’t pay

it all.”Kinch exclaimed impatiently, “An old

story! How much can you pay?”“Eleven dollars and fifty cents,” said

Doan.“You owe twenty.”“I aim to pay it when the hens begin

to lay.”Hazen laughed scornfully.“You aim to pay! Marshey, if your old

farm was worth taking, I’d have you outin this snow, you old scamp!”

Doan pleaded dully, “Don’t do that,Mr. Kinch! I aim to pay.”

Hazen clapped his hands on the table.“Rats! Come! Give me what you’ve

got! And, Marshey, you’ll have to get therest. I’m sick of waiting on you.”

Marshey came shuffling toward thetable. Hazen was sitting with the tablebetween him and the man, and I was a lit-tle behind Hazen at one side. Marsheyblinked as came nearer, and his weak,near-sighted eyes turned from Hazen tome. I could see that the man was stiff withthe cold.

When he came to the table in front ofHazen, he took off his thick gloves. Hishands were blue. Laying the gloves onthe table, he reached into an innerpocket of his torn coat and drew out alittle cloth pouch. He fumbled into thisand I heard the clink of coins. He drewout two quarters and laid them on thetable before Hazen, and Hazen pickedthem up. Then he reached into thepouch again.

Something dropped out of the mouthof the little cloth bag and fell soundlesslyon the table. It looked to me like a bill, apiece of paper currency. I was about tospeak, but Hazen, without an instant’shesitation, had dropped his hand on thething and drawn it unostentatiously*toward him. When he lifted his hand themoney — if it was money — was gone.

Marshey drew out a little roll of wornbills. Hazen took them out of his handand counted them swiftly.

“All right,” he said. “eleven-fifty. I’llgive you a receipt. But you mind me,Doan Marshey, you get the rest beforethe month’s out. I’ve been too slack*with you.”

Marshey, his dull eyes watching Hazenwrite the receipt, was folding the littlepouch and putting it away. Hazen tore offthe bit of paper and gave it to him. Doantook it and he said humbly; “Thank’e, sir.”

Hazen nodded, “Mind now!”* heexclaimed, and Marshey said, “I’ll do mybest, Mr. Kinch.”

Then he turned and shuffled acrossthe room and out into the hall. We heardhim descending the stairs.

When he was gone I asked Hazencasually: “What was that he droppedupon the table?”


unostentatiously — without attracting notice.

slack — here, lenient.

mind — here, remember; be sure to.





What do we learn aboutKinch? A. Not only is Hazen

Kinch miserly, he is also dishonest.

Why has Marshey re-turned?A. He has returned to

find the money he lost.

What does Kinch’s mirthindicate? A. Hazen Kinch’s cruelty

seems without end. Not only doeshe bully the poor man and takeadvantage of him, he laughs atDoan’s misery.

“A dollar,” said Hazen promptly. “Adollar bill. The miserable fool!”

“You mean to give it back to him?” Iasked.

He stared at me and he laughed. “No!If he can’t take care of his own money —that’s why he is what he is.”

“Still it is his money.”“He owes me more than that.”“Going to give him credit for it?”“Am I a fool?” Hazen asked me. “Do I

look like so much of a fool?”“He may charge you with finding it.”“He loses a dollar; I find one. Can he

prove ownership? Pshaw!” Hazenlaughed again.

“If there is any spine in him he will laythe thing to you as a theft,” I suggested. Iwas not afraid of angering Hazen. Heallowed me open speech; he seemed tofind a grim pleasure in my distaste forhim and for his way of life.

“If there were any backbone in theman he would not be paying me eightydollars a year on a five-hundred dollarloan — discounted.”

Hazen grinned at me triumphantly.“I wonder if he will ever come back,” I

said.“Besides,” Hazen continued,” he lied

to me. He told me the eleven-fifty was allhe had.”

“Yes,” I agreed. “There is no doubt helied to you.”

Hazen had a letter to write and hebent to it. I sat by the stove and watchedhim and considered. He had not yet fin-ished the letter when we heard Marsheyreturning. His dragging feet on the stairwere unmistakable. At the sound of hisweary feet some tide of indignation

surged* up in me. I was minded to do vio-lence to Hazen Kinch. But a deeperimpulse held my hand from the man.

Marshey came in and his weary eyeswandered about the room. They inspect-ed the floor; they inspected me; theyinspected Hazen Kinch’s table, and theyrose at last humbly to Hazen Kinch.

“Well?” said Hazen.“I lost a dollar,” Marshey told him. “I

‘lowed* I might have dropped it here.”Hazen frowned.“You told me eleven-fifty was all you

had.”“This here dollar wa’n’t mine.”The money-lender laughed.“Likely! Who would give you a dollar?

You lied to me, or you’re lying now. Idon’t believe you lost a dollar.”

Marshey reiterated weakly, “I lost adollar.”

“Well,” said Hazen “there’s no dollar ofyours here.”

“It was to git medicine,” Marshey said.“It wa’n’t mine.”

Hazen Kinch exclaimed, “By God, Ibelieve you’re accusing me!”

Marshey lifted both hands placatingly.“No, Mr. Kinch. No, sir.” His eyes once

more wandered about the room. “MebbeI dropped it in the snow,” he said.

He turned to the door. Even in his slowshuffle there was a hint of tremblingeagerness to escape. He went out anddown the stairs. Hazen looked at me, hisold face wrinkling mirthfully.

“You see?” he said.I left him a little later and went out into

the street. On the way to the hotel I stoppedfor a cigar at the drug store. Marshey wasthere, talking with the druggist.

What do we learnabout Kinch?

surged — flowed strongly.

‘lowed — abbreviation for allowed. Here, believed.ΩELPFULµEFINITIONS

What does Kinch’smirth indicate?

Why has Marsheyreturned?



I heard the druggist say, “No Marshey,I’m sorry. I’ve been stung* too often.”

Marshey nodded humbly.“I didn’t ‘low you’d figure to trust

me,” he agreed. “It’s all right. I didn’t‘low you would.”

It was my impulse to give him the dol-lar he needed, but I did not do it. An over-powering compulsion bade* me keep myhands off this matter. When I went outinto the snow it seemed to me the groanof the gale was like the slow grind of mill-stones, one upon the other.

I thought long upon the matter ofHazen Kinch before sleep came that night.

Toward morning the snow must havestopped; but the wind increased andcarved the drifts till sunrise; then abrupt-ly died. I met Hazen at the post office atten and he said, “I’m starting home.”

I asked, “Can you get through?”He laughed. “I will get through,” he

told me.“You’re in haste.”“I want to see that boy of mine,” said

Hazen Kinch. “ A fine boy, man!”“I’m ready,” I said.

When we took the road the mare waslimping. But she seemed to work out thestiffness in her knees, and after a mile orso of the hard going she was movingsmoothly enough. We made good time.

The day, as so often happens after astorm, was full of blinding sunlight. Theglare of the sun upon the snow wasalmost unbearable. I kept my eyes all butclosed, but there was so much beautyabroad in the land that I could not bear toclose them altogether. The snow clung totwigs and to fences and to wires, and athousand flames glinted from every crys-tal when the sun struck down upon thedrifts. The pine wood upon the easternslope of Rayborn Hill was a checkerboardof rich color — green and blue and blackand white, indescribably brilliant. Whenwe crossed the bridge at the foot of thehill we could hear the brook playingbeneath the ice that sheathed it. On thewhite pages of the snow wild things hadwrit here and there the fine-traced tale oftheir morning’s adventuring. We sawonce where a fox had pinned a big snow-shoe rabbit in a drift.


stung — here, cheated.

bade — directed.ΩELPFULµEFINITIONS

Why doesn’t the narrator take action?

What is the signifi-cance of the “slow

grind of millstones”?

Note the descriptionof nature as a mass of

contradictions. Thewarm sun’s glare upon

the cold, beautifulsnow blinds the eyes,but nature’s splendor

bids them open.

Why doesn’t the narratortake action? A. Some force more

powerful than he understoodwould not allow him to becomeinvolved.

What is the significanceof the “slow grind ofmillstones”?

A. The reference to the slow grindof millstones foreshadows that jus-tice is about to be served.




What is the one redeem-ing feature of Kinch’scharacter?

A. His love for his child is his oneredeeming feature.

What does the child’sdeath symbolize?A. The child’s death rep-

resents the punishment meted outfor evil actions. The child should beviewed as a symbol, not as an actu-al person. He is the instrument ofpunishment and the author useshim as a powerful tool to deliverhis message.

Hazen talked much of that child of hison the homeward way. I said little. Fromthe top of Rayborn Hill we sighted hishouse and he laid the whip along themare and we went down that long lastdescent at a speed that left me breath-less. I shut my eyes and huddled low inthe robes for protection against the bitterwind, and I did not open them again untilwe turned into Hazen’s barnyard, plow-ing through the unpacked snow. Whenwe stopped Hazen laughed.

“Ha!!” he said. “Now, come in, man,and warm yourself and see the baby!”

He was ahead of me at the door; Iwent in upon his heels. We came into thekitchen together.

In the cold of winter Hazen’s kitchenwas also living-room and bedroom. Thearrangement saved firewood. There wasa bed against the wall opposite the door.As we came in a woman got up stifflyfrom the bed and I saw that this womanwas Hazen’s wife. But there was achange in her. She was bleak as cold ironand she was somehow strong.

Hazen rasped at this woman impatient-ly, “Well, I’m home! Where is the boy?”

She looked at him and her lipsmoved soundlessly. She closed them,opened them again. This time she wasable to speak.

“The boy?” she said to Hazen. “Theboy is dead!”

The dim-lit kitchen was very quiet fora little time. I felt myself breathe deeply,almost with relief. The thing for which Ihad waited — it had come. And I lookedat Hazen Kinch.

He had always been a little, thin man.He was shrunken now and very white

and very still. Only his face twitched. Amuscle in one cheek jerked and jerkedand jerked at his mouth. It was as thoughhe controlled a desire to smile. That jerk-ing, suppressed smile upon his white andtortured countenance was terrible. I couldsee the blood drain down from his fore-head, down from his cheeks. He becamewhite as death itself.

After a little he tried to speak. I do notknow what he meant to say. But what hedid was to repeat — as though he had notheard her words — the question which hehad flung at her in the beginning. He saidhuskily, “Where is the boy?”

She looked toward the bed and Hazenlooked that way; and then he went acrossto the bed with uncertain little steps. I fol-lowed him. I saw the little twisted bodythere. The woman had been keeping itwarm with her own body. It must have beenin her arms when we came in. The tumbledcoverings, the crushed pillows, spokemutely of a ferocious intensity of grief.

Hazen looked down at the little body.He made no move to touch it, but I heardhim whisper to himself, “Fine boy!”

After a while he looked at the woman.She seemed to feel an accusation in hiseyes. She said, “I did all I could.”

He asked, “What was it?”I had it in me — though I had reason

enough to despise the little man — to pityHazen Kinch.

“He coughed,” said the woman. “Iknew it was croup.* You know I asked youto get the medicine — ipecac.* You said nomatter — no need — and you had gone.”

She looked out of the window.“I went for help — to Annie Marshey.

Her babies had had it. Her husband was

What is the oneredeeming feature of

Kinch’s character?

What does the child’sdeath symbolize?

croup — an inflammatory condition of the larynx and trachea, especiallyin young children, marked by a cough, hoarseness, and difficulty inbreathing.

ipecac — a plant extract that induces vomiting.


Students will be disturbed, understandably, by the apparent callousness of the author/narra-tor who seems almost gratified by the child’s death, since it represents a well-earned punish-ment for Hazen. The evil in this story is unmitigated by any redeeming factor, and this makesit easier to interpret the child and his death symbolically. Evil must be punished and the authorchose a child as the instrument of punishment to make his point and to increase the impact.



going to town and she said he would getthe medicine for me. She did not tell itwas for me. He would not have done it foryou. He did not know. So I gave her a dol-lar to give him — to bring it out to me.

“He came home in the snow last night.Baby was bad by that time, so I waswatching for Doan. I stopped him in theroad and I asked him for the medicine.When he understood he told me. He hadnot brought it.”

The woman was speaking dully, with-out emotion.

“It would have been in time, eventhen,” she said. “But after a while, afterthat, baby died!”

I understood in that moment theworking of the mills. And when I lookedat Hazen Kinch I saw that he, too, wasbeginning to understand. Hazen Kinchwas driven to questions.

She said slowly: “They would not trusthim — at the store.”

His mouth twitched, he raised his hands.“The money!” he cried. “The money!

What did he do with that?”“He said,” the woman answered,

“that he lost it — in your office — lost themoney there.”

After a little the old money-lenderleaned far back like a man wrenched withagony. His body was contorted; his facewas terrible. His dry mouth opened wide.

He screamed!Halfway up the hill to my house I

stopped to look back and all around. Thevast hills in their snowy garments lookeddown upon the land, upon the house ofHazen Kinch — still and silent andinscrutable.

I knew now that God dwelt amongthese hills.


e

???? CHECKQUIZ

1. Why does the speaker in the story call Hazen Kinch? What is unique about his rela-tionship to Hazen?

2. What does the narrator notice about the landscape as he heads toward Hazen’shome? What question does the view inspire?

3. What disturbs the narrator about Hazen Kinch?

4. How is Hazen’s relationship with his son described? What is the narrator’s reactionto this relationship?

5. What is Hazen’s opinion of the Rayborns? Does the speaker share this opinion? Whattranspired between Hazen and the widow Rayborn?

6. Why does Hazen punish his mare? What form does this punishment take?

7. What brings about the decision not to return home that evening?

8. Describe Doan Marshey. Why has he come to Hazen?

9. How does Hazen respond to Doan’s problems? Why does he allow him extra time topay off his loan rather than appropriating Doan’s land?

???? CHECKQUIZ

1. The speaker contacts Hazen toask him for a ride to town. He is“perhaps the only person withinforty miles,” or perhaps, the onlyperson on the planet for whomKinch might consent to do a favor.2. The narrator notices the bittercold, the water that has frozen overand can now be traversed by auto-mobiles, the blue-white of the snowand the blue-black of the trees. Theglory of nature that surrounds himleads him to question whether Goddwells among these trees and whatGod thinks of Hazen Kinch.3 . According to the narrator,Hazen Kinch is a man who, becauseof his cruel nature, should not leada fulfilled life. The narrator won-ders when and if this man willreceive his just deserts.4. Hazen clearly loves his little boy;he seems oblivious to the child’sphysical deformity. He lifts him inhis arms and repeatedly refers to himas a fine boy. The narrator speculatesas to whether Hazen’s one demon-stration of affection redeems him as ahuman being.5. Hazen holds the Rayborns in verylow esteem. He considers them anugly and shiftless lot. The narratorremembers the late Mr. Rayborn as afine man; he does not believe thattheir misfortune results from a char-acter flaw. When Mrs. Rayborn bor-rowed money from Hazen and wasunable to make payment in a timelymanner, he evicted her.6. When the sleigh turns over in asnowdrift Hazen twists the horse’s earand beats her across the knees withthe butt of his whip.7. The pair could not get home thatevening because of a severe snow-storm.8. Doan Marshey is a painfully thin,sad man. He has come to pay off partof a loan.9. Hazen is impatient with Marsheyand laughs at his misfortune. Heclaims that he would take awayMarshey’s farm in payment exceptthat the property is worthless.

10. He feels that Doan deserves to lose the money if he is foolish enough to drop it, not to mention being foolish enough to accept the terms of his loan fromHazen. Moreover, since he apparently lied when he said that he had no more money, he has every right to lose this dollar, according to Hazen.11. He has apparently extended credit to Marshey (and others) on numerous occasions only to have Marshey fail to make good on his debt.12. He died of the croup because Doan Marshey, who had been sent to the drug store to buy medicine, has lost the money with which to pay the druggist.




10. How does Hazen rationalize keeping the money that drops from Doan’s pouch?

11. Why does the druggist refuse Doan’s request?

12. What happened to the boy? How did this happen?

LITERARY CRITIQUE

1. How does the reader become aware that Hazen is an immoral, selfish man?Support your answer with references to the text. Discuss the development ofHazen Kinch’s character throughout the story. Does the narrator ever state direct-ly that Hazen is evil?

2. What role does nature play in this selection? How does the weather, specifically,affect the outcome of the story?

3. How does the author use foreshadowing? Cite specific examples from the text.

4. What is the role of the Rayborn family? Why does the author bring them into the story?

5. Mention two occasions when the narrator wished to intervene.

6. Why does the author create an unsympathetic portrayal of the boy?

7. How does Hazen rationalize taking the money that Doan dropped? Are his actionsjustified? What light does his rationalization shed on the man’s personal moral code?

8. What is ironic about the death of the boy?

9. What do Hazen Kinch, his wife, and the boy each symbolize?

WRITING WORKSHOP

1. Rewrite the ending of this story, changing at least one of the factors that led to theboy’s death. Suppose, for example, that the snowstorm had not compelled Hazen tostay in town, or that he chose, uncharacteristically, to return Doan’s dollar. Whatmight have resulted?

2. The literary term tragedy has a very specific meaning. One important aspect oftragedy, in the literary sense, is that some flaw in the victim’s character plays a rolein his bitter fate. In what ways does Hazen’s flawed character contribute to his fate?How might he have prevented the tragedy?

JOURNAL WORKSHOP

“Hindsight is 20/20.” This expression means that when one looks back at variousactions or occurrences, one sees them more clearly [i.e., with 20/20, or perfect, vision]than while they were taking place. Often hindsight reveals a deeper significance to

BC

1. Hazen’s actions speak for them-selves. He is a miserly man who isnot even generous with kindness,he will not do a favor for any man,except the narrator. He is too stingyto heat his barn, and he treats hiswife, his beasts, and creditors withthe same level of disrespect border-ing on contempt. As the story pro-gresses, we learn that Kinch hasevicted a poor widow, and is ausurer. The narrator, however,never condemns Hazen in so manywords. Rather, he chooses hisdetails and his language very care-fully, “showing” us rather than“telling” us what to think.2. Nature’s beauty provides thebackdrop. The magnificence of thehills attests to God’s hand, but theapparent success of men such asHazen Kinch leads one to searchfor Him more deeply within thatmagnificence. The snowstorm,which arrives despite Kinch’s pre-diction, is the vehicle for hisdownfall. He is unable to returnhome and Doan Marshey, who,ironically, has “lost” the dollar forthe medicine in Hazen’s office,cannot buy the necessary ipecac.3. The speaker’s question regardingGod’s presence in the hills sets thetone for the story’s end. The narra-tor refers to Hazen’s inevitable fall,and his speculation is borne out.He also mentions that if anythingwere to happen to Hazen’s son, theman would be devastated.4 . The Rayborns highlightKinch’s lack of humanity. By blam-ing them for events beyond theircontrol, Kinch reveals his belief inhis all-powerful ability to controlhis world.5. He states his desire to hurtHazen when he hears Marshey’sfootsteps returning to Hazen’soffice, but he restrains himself. Hefeels moved to pay for “Marshey’s”medication, but does not do so.6. Answers will vary. Some will not be able to escape feeling compassion for a handicapped child. Nevertheless, it is more likely that the author does notwant to elicit pity for the boy. He mentions that the women of the community feel the boy would be better off dead. Apparently the author does not wishthe reader to feel any sympathy for the boy; the tragedy is meant to belong to Hazen alone. That is the point of the story — that the Hazen Kinches of theworld eventually get their just deserts. Sympathy for the boy would weaken that message.7. Kinch believes that foolish people should suffer the consequences of their foolishness. He believes that Doan must be a foolish man since he has been so read-ily exploited by Hazen. He also feels that since Doan owes Hazen (an admittedly unfair amount of) money, he has a right to any money in Doan’s possession. Finally,and ironically, Hazen feels that Doan deserves to lose the money since he supposedly lied to Hazen about the amount of money he had. (continues on facing page)

LITERARY CRITIQUE

BC



events than we ever imagined was possible. Surely, Hazen did not anticipate the rolethat a snowstorm would play in his life, nor the consequences of his own unkindnesstoward Doan Marshey. In a journal entry of two to three paragraphs, recount a real orimaginary incident that, in retrospect, reveals a lack of foresight. Your conclusion shouldinclude the realization that different actions might have yielded different results.

VOCABULARY WORKSHOP

brusquely countenance dumb elaborated essential fumbled fundamentalfurtively grim groveling impelled improvident leered meager mirthfullyplacating racking reiterated revolt submission suppressed vulnerable welt

EXERCISE 1ANTONYMS

In your notebook, write the letter of the word in the right-hand column that is mostnearly the opposite in meaning of each of the words in the left-hand column.

EXERCISE 2SENTENCE COMPLETION

countenance elaborated fumbled fundamental impelled leered rackingreiterated suppressed vulnerable welt

In your notebook, write the word from the word bank that best completes each ofthe sentences below:

1. When we asked for more details about the house, the real estate agent____________ on his earlier brief description.

2. The mother ____________ a smile at her child’s unsuccessful attempt to sing on key.

1. brusquely

2. fundamental

3. placating

4. mirthfully

5. meager

6. grim

7. groveling

8. furtively

9. essential

10. dumb

a. unnecessary

b. openly

c. talkative

d. arrogant

e. gently

f. not basic

g. generous

h. sadly

i. challenging

j. joyous


WRITING WORKSHOP

1. Students’ essays will vary.

2. Hazen’s flawed character directshis fate. He bullies those with whomhe associates and holds them in con-tempt. He has no respect for his wife,and ignores her request for medicinefor their son. He refuses to believethat a snowstorm is coming, so he isforced to stay in town overnight andis not available to help the boy. Heshows no compassion for DoanMarshey, and holds on to the dollarthat the poor man has dropped.Hazen’s miserliness convinces himthat he has a right to keep themoney. Had Hazen displayed even atrace of humanity in any of theseinstances, he would not have facedthe bitter tragedy that ends the story.Ironically, the elements of natureseem to conspire against Hazen,including the snowstorm that pre-vents him from traveling home andthe unidentifiable force that restrainsthe narrator from helping Marsheypurchase the medication, adding tothe inevitability of the outcome.

VOCABULARY WORKSHOP

Exercise 1:

Exercise 2:

1. elaborated

2. suppressed

(continues on following page)

1. e 2. f 3. i. 4. h 5. g 6. j 7. d 8. b 9. a 10. c

(continued from facing page)8. The child’s death is ironicbecause Hazen’s preoccupation withhis second greatest obsession in life— money — causes him to lose thatwhich he holds most dear.9 . a. Hazen Kinch symbolziespure, unadulterated evil. b. Kinch’s wife symbolizes hisoppressed, downtrodden victims,including the mare and Marshey. c. The child symbolizes the instru-ment of retribution.

LITERARY CRITIQUE

BC




VOCABULARY WORDS

brusque (brusk), adj. blunt; abrupt. adv.brusquely.

coun•te•nance (koun2 tən əns), n. the faceor facial expression. v. to permit or tolerate.

dumb (dum), adj. incapable of speech.

e•lab•o•rate (v. i lab2 ə rat¤ adj. i lab2 ərit¤ ), v. to work out in detail; to developfully. adj. worked out with great care.

es•sen•tial (ə sen2 shəl), adj. of the utmostimportance.

fum•ble (fum2 bəl), v. to grope about clum-sily.

fun•da•men•tal (fun2 də men¤ tl), adj. ofcentral importance.

fur•tive (fûr2 tiv), adj. done in a stealthymanner; sly. adv. furtively.

grim (grim), adj. harsh and unyielding.

grov•el (gruv2 əl, grov2- ), v. to humbleoneself, as in fear or servility.

im•pel (im pel2), v. to urge or drive forward.

im•prov•i•dent (im prov2 i dənt), adj. notproviding (usually, financially) for thefuture.

leer (ler), v. to smile in a knowing, maliciousway. n. a malicious, knowing smile.

mea•ger (me2 gər), adj. deficient in qualityand quantity; scanty; sparse.

mirth•ful (mûrth2 fəl), adj. with gladnessaccompanied by laughter. adv. mirthfully.

pla•cate (pla2 kat, plak2 at), v. to soothe,especially by making concessions.

rack (rak), v. to stretch or strain by force.adv. rackingly agonizingly.

re•it•er•ate (re it¤ ə rat2), v. to state or dorepeatedly.

re•volt (ri volt2), n. rebellion. v. to rebel.

sub•mis•sion (səb mish2 ən), n. the act orstate of submitting to the discretion or deci-sion of another.

sup•press (sə pres2), v. to put down byauthority or force; to subdue.

vul•ner•a•ble (vul2 nə rə bəl), adj. 1. capa-ble of being wounded, hurt, or damaged. 2.open to moral attack or criticism.

welt (welt), n. a ridge or lump raised on theskin, usually by a blow.

3. ”Why hast thou so woeful a ____________ she asked, attempting to speak in anElizabethan manner as she questioned her sister’s unhappy expression.

4. My hunger ____________ me to seek out a vending machine.

5. The young man experienced ____________ pain as a result of a broken rib.

6. “Don’t forget to bring your money for the trip tomorrow. Make sure you don’t for-get!” the Student Council president ____________.

7. She ____________ in the dark, trying to find a light switch.

8. The slave had a ____________ on his back where his owner had whipped him.

9. A thorough grounding in algebra is ____________ to the study of calculus.

10. My friend claimed that her doll was smiling, but it seemed to me that it____________, a thought that made me very uncomfortable.

11. The prisoners were cowed into ____________ by the brutal guards.

12. The American colonists organized a ____________ against England in 1776.

13. Hazen Kinch believed that Marshey’s poverty was the result of his ____________ ways.

14. The fort, because of its exposed position, was ____________ to attack by theopposing forces.

VOCABULARY WORKSHOP

(continued from previous page)

Exercise 2:

3. countenance

4. impelled

5. racking

6. reiterated

7. fumbled

8. welt

9. fundamental

10. leered

11. submission

12. revolt

13. improvident

14. vulnerable


Documents

11.Williams-They Grind.TE 1/26/06 10:34 AM Page 134 · THEY GRIND EXCEEDING SMALL 135 Before You Read… They Grind Exceeding Small by Ben Ames Williams (1889-1953) ABOUT THE AUTHOR